Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

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“Twist Blindness” 75At the end, the camera cuts back briefly for a reestablishing three-shot:Lynn exits the scene to make some pancakes for Cole with the ambiguousphrase, “You’ve got one hour” aimed in the vague direction of Malcolm.By using a combination of establishing and cutaway shots, Shyamalancreates a spatial and formal relationship between Malcolm and Lynn,while allowing the two characters to operate in their own physical and psychologicalspace. For the entire duration of the film (excluding the flashback),Malcolm and Lynn only occupy the same frame for approximately15 seconds, a surprisingly short length of time given that this is a relativelyimportant relationship and the film lasts for over 100 minutes. If a firsttimeviewer was given a questionnaire and asked to estimate Malcolm andLynn’s shared screen-time, then it is plausible that they would approximateminutes rather than seconds. Such an over-estimation would be a consequenceof reconstructive memory, a phenomenon that I will go on to describeshortly.(c) Establishing the apparent relationship betweenMalcolm and AnnaThe next objective is to establish the apparent relationship betweenMalcolm and his wife Anna. After Malcolm’s first meeting with Cole, wewitness a brief scene in which Malcolm arrives home, sees the kitchen tablewith a single place setting, and goes to the bedroom where Anna is sleeping.This scene, however, establishes little more than the spatial proximityof the two characters. Given the complexity and profundity of thehusband–wife relationship, Shyamalan needs a bigger and suitably ambiguousscene: the scene in question (5) is set in an Italian restaurant and isthe subject of the third flashback at the end of the film (Figure 3.9). Ananalysis of this scene can be used to illustrate the possible interplaybetween primacy, priming, schemas, and reconstructive memory.The first key question is: How do we attend to – and comprehend – thescene in question? How do we construct the fabula from the syuzhet? Thefirst element of the scene is Malcolm’s apology to Anna: “I thought youmeant the other Italian restaurant I asked you to marry me in.” In accordancewith the primacy effect, the opening dialogue creates an unambiguousfirst impression which primes us to label the scene as a certain typeof social situation: namely, a wedding anniversary dinner for which oneof the two parties is late. This labeling brings certain schemas into play:for example, we possess schemas for wedding anniversaries, lateness for
76 Daniel BarrattFigure 3.8The Sixth SenseFigure 3.9The Sixth Senseimportant social events, and so forth. In turn, these schemas incline us tomake certain inferences, an obvious example being that Anna is upset becauseshe has interpreted Malcolm’s lateness as an indication that he cares moreabout his work than their marriage. From Shyamalan’s perspective, thesignificant effect of these schematic constructions is that they incline us to
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Puzzle Films
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Puzzle FilmsComplex Storytelling in
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ContentsList of ContributorsviiIntr
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List of ContributorsDaniel Barratt
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List of ContributorsixHollywood (20
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2 Warren BucklandAll poetic arts, a
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4 Warren BucklandIn reading Bordwel
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6 Warren Bucklandfilm again, rather
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8 Warren Bucklandprocess of narrati
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10 Warren BucklandAllan Cameron and
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12 Warren Buckland4 Eleftheria Than
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14 Thomas Elsaessergenre or a sub-g
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16 Thomas Elsaesserdetails that do
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18 Thomas Elsaesserturns out that t
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20 Thomas Elsaessersituations, and
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22 Thomas ElsaesserA countervailing
Page 35 and 36: 24 Thomas Elsaesserwindows, refresh
Page 37 and 38: 26 Thomas ElsaesserYet paranoia, on
Page 39 and 40: 28 Thomas Elsaesserhim. Donnie Dark
Page 41 and 42: 30 Thomas Elsaessersame time as the
Page 43 and 44: 32 Thomas Elsaesserwriters such as
Page 45 and 46: 34 Thomas Elsaesserand syndication
Page 47 and 48: 36 Thomas ElsaesserIt would be inte
Page 49 and 50: 38 Thomas Elsaesserconditions,” a
Page 51 and 52: 40 Thomas Elsaessermachine of the v
Page 53 and 54: 2Making Sense of Lost HighwayWarren
Page 55 and 56: 44 Warren Bucklandoff-screen sounds
Page 57 and 58: 46 Warren BucklandScene 5, the next
Page 59 and 60: 48 Warren Bucklandview of events. T
Page 61 and 62: 50 Warren Bucklanddream and Renee
Page 63 and 64: 52 Warren Bucklandprotagonist up to
Page 65 and 66: 54 Warren Bucklandpresents a series
Page 67 and 68: 56 Warren Bucklandshe seems to retu
Page 69 and 70: 58 Warren BucklandFred’s optical
Page 71 and 72: 60 Warren Bucklandsame way she did
Page 73 and 74: 3“Twist Blindness”: The Role of
Page 75 and 76: 64 Daniel Barratt(a) comprehension(
Page 77 and 78: 66 Daniel Barrattsay Anna Crowe, pa
Page 79 and 80: 68 Daniel BarrattFinally, two gener
Page 81 and 82: 70 Daniel BarrattFigure 3.2The Sixt
Page 83 and 84: 72 Daniel BarrattFigure 3.6The Sixt
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Page 89 and 90: 78 Daniel BarrattContrary to our in
Page 91 and 92: 80 Daniel Barrattof the mise-en-sc
Page 93 and 94: 82 Daniel Barrattbecause these emot
Page 95 and 96: 84 Daniel Barrattplausible that thi
Page 97 and 98: 86 Daniel BarrattMiller, G. 1956.
Page 99 and 100: 88 Stefano Ghislottiemploy, and the
Page 101 and 102: 90 Stefano Ghislotti(Carrie-Anne Mo
Page 103 and 104: 92 Stefano GhislottiBW1-BW22Motel r
Page 105 and 106: 94 Stefano GhislottiThe following s
Page 107 and 108: 96 Stefano Ghislotticolor sequence
Page 109 and 110: 98 Stefano Ghislotti← ...+ C3(e-2
Page 111 and 112: 100 Stefano GhislottiFilm formMain
Page 113 and 114: Table 4.1 Mental images, memories a
Page 115 and 116: 104 Stefano Ghislottiand that they
Page 117 and 118: 106 Stefano GhislottiBibliographyBo
Page 119 and 120: 108 Chris DzialoMoreover, it is tem
Page 121 and 122: 110 Chris Dzialorunning time (24 fr
Page 123 and 124: 112 Chris Dzialoshifting network of
Page 125 and 126: 114 Chris DzialoIn this version, th
Page 127 and 128: 116 Chris DzialoIn this version, th
Page 129 and 130: 118 Chris Dzialo[T]he great asymmet
Page 131 and 132: 120 Chris Dzialoinexorably forward,
Page 133 and 134: 122 Chris DzialoShot of a smudge of
Page 135 and 136: 124 Chris DzialoJOELWhat are you do
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126 Chris Dzialounmoored between a
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128 Chris DzialoMamber, S. 2003.
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130 Michael WedelThe Opening Sequen
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132 Michael WedelLola runs in three
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134 Michael Wedelnarratives tend to
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136 Michael WedelThis tension aroun
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138 Michael Wedelin opposition” b
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140 Michael Wedelthe nuns, the tram
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142 Michael Wedellonger’ and the
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144 Michael Wedelwithin the logic o
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146 Michael Wedelspiral as one of t
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148 Michael Wedel10 For Lefebvre’
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150 Michael WedelJenkins, H. 2004.
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152 Allan Cameron and Sean Cubittth
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154 Allan Cameron and Sean Cubittti
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156 Allan Cameron and Sean CubittIn
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158 Allan Cameron and Sean Cubittow
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160 Allan Cameron and Sean Cubittho
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162 Allan Cameron and Sean Cubittsa
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164 Allan Cameron and Sean Cubittmu
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166 Allan Cameron and Sean CubittBi
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168 Gary Bettinsonreclamation of lo
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170 Gary BettinsonAs the film progr
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172 Gary Bettinsonaction in the 204
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174 Gary BettinsonGradually, the pr
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176 Gary Bettinsonand retardation.
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178 Gary Bettinsonpresentation of t
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180 Gary Bettinsonnarration has mis
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182 Gary Bettinsonlevel, however, t
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184 Gary Bettinsonnarrations that h
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186 Gary Bettinsone.g., Chow’s ne
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188 Yunda Eddie FengLou has been ca
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190 Yunda Eddie Fengnarrative progr
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192 Yunda Eddie FengDialogue emanat
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194 Yunda Eddie FengCuriously, desp
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196 Yunda Eddie Fengher dead body).
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198 Yunda Eddie FengSegment 5 (2:05
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200 Yunda Eddie FengXinxia. Even if
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202 Yunda Eddie FengBibliographyBar
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204 Marshall Deutelbaumgenesis, is
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206 Marshall DeutelbaumRecognizing
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208 Marshall Deutelbaumplace in Dec
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210 Marshall Deutelbaumthat he turn
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212 Marshall DeutelbaumCrash and Th
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214 Marshall Deutelbaumher, she mig
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216 Marshall DeutelbaumKwak, H. J.
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218 Eleftheria ThanouliOn first vie
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220 Eleftheria Thanouliactions set
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222 Eleftheria Thanouliin an expres
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224 Eleftheria ThanouliFigure 11.4O
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226 Eleftheria Thanouliscene not on
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228 Eleftheria Thanoulihand, helps
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230 Eleftheria Thanoulisome of the
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232 Eleftheria Thanoulia good knowl
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234 IndexBoccaccio, Giovanni 20book
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236 Indexfoveal vision 63fragmented
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238 IndexMontgomery, Robert 190mora
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240 IndexStranger Than Fiction 108S
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Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

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